Anne Boleyn - Auckland Theatre Company

EDUCATION PACK
Contents
S ponsors
Auckland Theatre Company
receives principal and core
funding from
CREDITS
4
ABOUT THE PLAY
6
ABOUT THE PLAYWRIGHT
7
INTERVIEW WITH THE DIRECTOR
8
KEY EVENTS IN TUDOR ENGLAND
12
KEY CHARACTERS
14
DESIGN ELEMENTS
Subsidised school matinees are
made possible by a grant from
Set
18
Costume
22
Lighting & Sound
23
RELIGIOUS CHANGE IN TUDOR ENGLAND
26
10 THINGS YOU DIDN’T KNOW ABOUT ANNE BOLEYN
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RESOURCES AND USEFUL LINKS
30
ABOUT ATC EDUCATION
31
CURRICULUM LINKS
31
PLEASE NOTE:
ATC Education also thanks
the ATC Patrons and the ATC
Supporting Acts for their ongoing
generosity.
The 2013 Education Packs are
made possible by a grant from
•Schools’ performances are followed
by a Q&A Forum lasting for 20 – 30
minutes in the theatre immediately
after the performance.
•Eating and drinking in the auditorium is strictly prohibited.
•Please make sure all cell phones are
turned off prior to the performance
and, if possible, please don’t bring
school bags to the theatre.
•Photography or recording of any kind is STRICTLY PROHIBITED.
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VENUE: Q THEATRE, QUEEN STREET, AUCKLAND CITY.
SCHOOL DATE: Thursday 27 June at 11am.
RUNNING TIME: 2 hours plus a 20 minute interval.
SUITABILITY: This production is suitable for Year 13 students ONLY.
ADVISORY: Contains frequent use of strong language and
sexual references.
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Cast
Anna Jullienne — Anne Boleyn
Andrew Grainger — Henry VIII
Paul Minifie — Wolsey/Countryman/John Reynolds
Simon Prast — Thomas Cromwell
Claire Dougan — Lady Rochford
Jordan Mooney — Simpkin/George Villiers
Peter Daube — Sloop/William Tyndale/Henry Barrow
Mikassa Cornwall — Lady Celia/Countrywoman
Lauren Gibson — Lady Jane Seymour
Stephen Lovatt — James I
George Henare — Cecil/Countryman/Courtier
Raymond Hawthorne — Dean Lancelot Andrewes/Countryman
Ken Blackburn — Parrot/Courtier/Countryman
Hera Dunleavy — Lady Margery/Countrywoman
Creative
Production
Colin McColl — Director
Hera Dunleavy — Assistant Director
Rachael Walker — Set Designer
Elizabeth Whiting — Costume Designer
Phillip Dexter MSc — Lighting Designer
Adrian Hollay — Sound Designer
Marija Stanisich — Choreographer
Paul Nicoll — Technical & Production Manager
Fern Christie — Company Manager
ChelseaAdams — Stage Manager
Natalie Braid — Assistant Stage Manager
Josh Bond — Technical Operator
Natasha Pearl — Props Master
Sophie Ham — Wardrobe Supervisor
2Construct — Set Construction
Education Pack
Nicole Winsor — Writer
Lynne Cardy — Contributing Writer and Editor
Michael Smith — Production Images
Claire Flynn — Graphic Design
Thanks to Chelsea Adams
First performed at Shakespeare’s Globe, London, on 24 July 2010
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About thePlay
Synopsis
Act I
It is 1603, Anne Boleyn is long dead, and King James I has taken the
throne. Hidden in a secret compartment of a clothes chest are Anne’s
prohibited copies of William Tyndale’s English Bible and his work, “The
Obedience of a Christian Man”, which scandalously claimed that the King
should be the supreme authority of the church. James discovers the books
and he decides to go on a hunt for Anne’s ghost.
We then jump backwards in time to March 1522 and follow the events of
Anne’s affair with King Henry VIII over the next seven years. Anne’s quickwitted scheme to withhold sex from the King until he makes her his wife
results in the King’s decision to separate the Church of England from the
Roman Catholic Church, making himself the chief authority instead of the
Pope. When it becomes clear that Henry will be able to leave his first wife
and marry Anne, making her the first Protestant Queen of England, Anne
finally gives in to Henry’s romantic advances.
Act II
In King James’s court in early 1604, James is trying to unite the divided
Church of England in order to avoid any religious discontent which
would threaten his rule. Meanwhile, in Anne’s time, she and King Henry
are married and a daughter, Elizabeth, is born, but Anne feels threatened
by her inability to give the King a male heir and also by her subjects’
treacherous dislike of her.
James decides to commission a new and official translation of the bible
into English in order to unite the religious factions of his realm. He orders
that the new bible be based on Tyndale’s translation, but instructs his
men to use words which make it clear that the King is the only person
in charge. Feeling self-congratulatory about outsmarting the religious
advocates, James gets blindly drunk and passes out in the Tower of
London.
James and Anne’s worlds begin to collide: Anne gives birth to a boy –
but he is still-born; Henry begins an affair with one of Anne’s ladies; and
Anne is accused of adultery, incest and treason and is sentenced to death
by beheading. James wakes up and finally meets Anne’s ghost who tells
James about the moments before her death and describes her hopes,
fears and desires for herself and for a reformed Church of England.
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About thePlaywright
H oward Brenton
“The perception is that Howard is one of our great political writers,
but he is also a writer who surprises, because he seems to go much
further: he has a poetic mind, but he’s also a sensualist; his writing is
very funny, but he’s also someone with humanity. In terms of where
he fits in, that’s a problem – it makes him, God forbid, versatile.”
- Michael Grandage, director of DANTON'S DEATH (2010).
Howard Brenton, born in Portsmouth in 1942, is a British playwright
and screenwriter. He has written over 40 plays for the theatre since the
mid-1960s and was a screenwriter for the popular BBC television show
SPOOKS which aired from 2002-2005. He first received attention in 1969
with CHRISTIE IN LOVE, which depicts the life of the famous serial killer
John Christie. Brenton’s next big successes came in the form of two
political plays: THE CHURCHILL PLAY (1974), a blunt critique on the postwar sentimentality of British patriotism; and WEAPONS OF HAPPINESS
(1976), a play about a strike in a London crisp factory in which an executed
Czech communist is bought back to life. Brenton gained notoriety with the
play, THE ROMANS IN BRITAIN (1980), which was a scathing comment on
imperialism and the abuse of power. The depiction of the rape of a Druid
priest by a Roman soldier in this play led to a morality campaign and unsuccessful private prosecution against the production’s director.
With the rising interest in the provoking and violently political ‘in-yer-face’
theatre of 1990s Britain, Brenton - like many other left-wing playwrights of his generation at this time - found himself facing a lack of opportunities.
As Brenton states, “I was out of fashion, and the money began to run
out”. Following a lengthy hiatus, the 2005 National Theatre production of
PAUL (which received an Olivier nomination for Best Play) was Brenton’s
first major production in a decade. The play opened amongst religious
controversy due to its presentation of the idea that Jesus was married and
the Crucifixion had been faked. PAUL was quickly followed by a love story
set in the Parisian middle ages called IN EXTREMIS (2006), before Brenton
was commissioned by Shakespeare’s Globe to write ANNE BOLEYN, which
premiered in July 2010.
All of Brenton’s plays traverse difficult and at times painful territory, but
they are also exhilarating and humorous portrayals of powerful themes,
ranging from political satire and romantic love, to religious intolerance and
the nature of belief. As Andrew Dickson of The Guardian writes, “Brenton's
plays have never been afraid to confront subjects that would make nervier
playwrights run for cover”.
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Interview with the Director
Breaking down the fourth wall
Nicole Winsor talked to director Colin McColl about
staging ANNE BOLEYN.
The events of the Tudor period, and Henry VIII’s reign in particular,
have continuously captivated the attentions of modern audiences.
Anne Boleyn, has been the subject of much artistic speculation in
recent years. From her portrayal as a beguiling sexual temptress in
the television series The Tudors, to the depiction of her as a quickwitted charmer in the popular film The Other Boleyn Girl, based on
the Philippa Gregory novel of the same name, Anne has consistently
been the subject of reinvention in popular culture. Howard Brenton’s
version of Anne Boleyn deals with the religious beliefs of the
notorious Queen, which is a subject that is often ignored in Anne’s
popular portrayals. As Colin McColl says, Brenton’s interest lies in
“Anne’s obsession with the works of William Tyndale. Branded a
heretic and a fanatic, Tyndale was the first man to translate the Bible
into English and James I later demanded that the Tyndale version be
the basis of his King James Version of the Bible. Brenton opens his
play with James I finding Anne’s personal copy of Tyndale’s bible and
he has fun exploring the psychic link between James and Anne.”
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One of the challenging aspects a director faces when staging ANNE
BOLEYN is being clear about the ambitious jumps in time made,
both within and between Henry and James’s reigns. Colin explains:
“It was something that troubled me when I first decided to stage the
play because today (unless we are historians) we tend to lump all the
Tudors together, and in the script, it’s important to understand the
two different time frames – the world of Henry VIII and Anne Boleyn, and James I’s world 70 years later. We’ve used costume, lighting and
sound to highlight the different world for the audience, and show
where they collide.”
Colin also discusses the challenge of Brenton’s robust dialogue:
“Working with a large cast in a fairly confined space does present
challenges, but also offers wonderful opportunities. It’s a wordy play,
which we’re presenting in a theatre space with notoriously difficult
acoustics, so actors have to be reminded about clarity of speech.”
Despite the setting in Tudor and Jacobean England, the play is, as
Colin emphatically states, “a modern play.” As he says, “It’s interesting,
this present day fascination with the Tudors: the politics, the sexual
liaisons, the power play, and the lives lived under constant surveillance
all appeal to our modern sensibilities.”
Talking Points
On the relevance of Anne and James’s stories to modern audiences,
Colin points towards the worldwide religious turmoil that we see on
the news everyday: “At one point James I says in the play ‘Nothing can
tear a country apart like religion’. Just look to the Middle East. It’s still
happening.” The Western world, likewise, is continuously experiencing
“theological debate – different sects of Christianity still argue over
biblical interpretation.”
- How does the use of a thrust stage and the breaking of
the fourth wall emphasise the dangerous and treacherous
worlds of Tudor and Jacobean England?
Yet ANNE BOLEYN is not a play that is focused solely on political
and religious matters. It is also very funny, and Colin feels “lucky to
have some very funny actors in the cast who are relishing the comic
opportunities the script offers.” In his staging, Colin has also taken
advantage of the play’s ability to keep the audience involved in the
action: “Our staging is thrust staging (with audience on three sides)
[...] there is no ‘fourth wall’. Characters talk and interact with the
audience.”
- Why do you think modern audiences are so interested
in Anne’s story? What similarities of power, politics and
religion can we see between Anne and James’s times and
our own?
- How were costume, lighting and sound utilised in order
to indicate a change in time between Henry and James’s
reigns?
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Timeline of key events in Tudor England
1485
1533
Anne and Henry are married secretly in late January.
Parliament decides all legal issues should be settled in
English Courts which are controlled by the King.
The new Archbishop of Canterbury, Thomas Cranmer,
grants an annulment of Henry and Catherine’s marriage,
Anne is crowned Queen, and her daughter Elizabeth (later
to be Queen Elizabeth I) is born.
1500
Anne Boleyn is born.
1509
Henry VIII takes the throne and marries his brother’s
widow, Catherine of Aragon.
1522
Anne returns to England from the French Queen’s court
and becomes a lady in waiting to Queen Catherine.
1534
Henry writes a series of love letters to Anne, who
continuously rejects his advances.
Laws are passed that make it treason to slander Henry and
Anne’s marriage. Anne suffers a miscarriage.
1535
Anne falls pregnant again.
1536
Anne miscarries again; this time, the child was a boy.
The King starts an affair with Jane Seymour and Anne is
accused of committing adultery with 5 men, including her
brother George. Despite a lack of evidence, all five men
and Anne are declared guilty of adultery and treason and
are executed.
Anne is beheaded at the Tower of London.
Henry marries Jane Seymour.
Cardinal Wolsey dies of illness after being sent from court
in disgrace for failing to secure the annulment of Henry’s
marriage to Catherine. Henry decides to break away from
Roman authority.
1537
Jane’s son Edward (later to become King Edward VI) is
born and Jane dies.
1540
Thomas Cromwell is executed.
Thomas Cromwell encourages Parliament to officially
recognise the King’s supremacy over the Church, finalising
the break with Rome.
1547
Henry VIII dies and is succeeded by 9 year old Edward VI.
1553
Edward VI dies and Mary I takes the throne.
1558
Mary I dies, without producing an heir, at age 42.
1603
Elizabeth I dies and James VI of Scotland (James I of
England) becomes King.
1526
1527
1528
1530
1532
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Henry Tudor (Henry VII) seizes power from Richard III,
ending the 30 year battle between the Houses of York and
Lancaster for the crown. The House of Tudor begins.
Henry becomes dissatisfied with Catherine’s inability to
provide a male heir and he decides to seek an annulment
of their marriage from the Church of Rome and take Anne
as his wife and Queen.
Anne acquires a copy of William Tyndale’s The Obedience
of a Christian Man, which puts forward the idea that the
bible should be the centre of religious worship and the
King should be the supreme authority of his own country’s
church, and she shows it to Henry.
Anne is made Marquess of Pembroke and finally sleeps
with King Henry.
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Key Characters
The Tudor Period
William Tyndale
A scholar and religious reformer best
known for translating the bible into
English; for advocating a bible-centred
approach to religion; and for advocating
the view that the King of a country should
be head of that country’s Church.
Henry VIII
King of England, 1509 – 1547.
Anne Boleyn
Henry VIII’s second wife.
Lady Celia
One of Anne’s ladies.
Cardinal Thomas Wolsey
A Cardinal of the Roman
Catholic Church and Henry’s
Lord Chancellor (the King’s
chief advisor).
Thomas Cromwell
Originally one of Wolsey’s most senior and trusted advisors; following Wolsey’s downfall he becomes the chief minister to the King.
Simpkin
Cromwell’s man.
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Lady Rochford
One of Anne’s ladies; married to
Anne’s brother, George.
Lady Jane Seymour
One of Anne’s ladies; later, mistress to
the King and his 3rd wife after Anne’s
death; mother of Edward VI.
Sloop
First Wolsey’s man, then Cromwell’s.
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The Jacobean Period
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James I
Robert Cecil
King of England, 1603 – 1625;
following Elizabeth’s failure
to leave behind an heir,
James inherited the throne
via his mother, Mary Stuart,
Queen of Scots, who was the
granddaughter of Henry VIII’s
sister, Margaret Tudor; James’s
mother Mary was executed
by Elizabeth I during her reign
because she saw Mary as a
threat to the throne.
Secretary of State and
spymaster to both Elizabeth I
and James I; chief orchestrator
of James’s succession to the throne.
Parrot
Cecil’s man.
Dean Lancelot Andrews:
George Villiers
Doctor John Reynolds
Favourite and Lover to King James I.
Churchman and Scholar
of Puritan views, known
for initiating the project to
produce the King James Bible.
Henry Barrow
A radical religious Separatist
who saw the Church of
England as corrupt and
wished to see individual
congregations given total
authority over religious
matters; he was later arrested
and executed for his subversive thinking.
Bishop in the Church of
England and Scholar who
oversaw the translation of the King James Bible.
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Design
One of the more challenging aspects about staging Anne Boleyn is
being clear about the ambitious jumps in time between the world of
Anne Boleyn and the court of James I - 70 years later. Director Colin
McColl and his creative team have used costume, lighting and sound
to highlight the differences in each world, as well as a universal set
that allows both worlds to exist seamlessly.
Set
Designed by Rachael Walker, the open, sparse set framed by a forced
perspective structure allows for multiple locations. The I beam
uprights that form the structure can represent Farnham forest, an
orchard, a chapel and various court locations.
The forced perspective indicates a world that is at once grandiose but
claustrophobic and inescapable. It also draws the eye in, and is useful
for bouncing the voices of the actors out. The set is representative of various themes within the play:
• The muscular masculine world of the court – a world made of concrete and steel.
• The dangerous and mucky court politics – conveyed in rusting and degraded surfaces.
• Reforming religious beliefs - loosely represented by a crucifix made of an I beam ceiling structure.
• Feminine fragility, fertility, royal and/or corrupt wealth and the place where Anne was beheaded - a real grass green and gilt tree.
The thrust seating configuration is a nod to the original Globe Theatre production.
• seating blocks set on the stage are angled to make the audience feel more included
• the actors relate to the audience often throughout the play
The reverse raked rostra is useful for several reasons:
• it offers different playing levels – height
• is a platform for the throne
• indicates a position of power
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Costume
To our 21st century eyes, all Tudor costumes look alike, so Colin and
designer Elizabeth Whiting deliberately chose to accentuate the time
differences between the two courts by dressing the characters in
costumes with a modern edge. The 1950s inspired costumes in Anne’s
world are 70 years away from the contemporary men’s suits of James’
court, however, Elizabeth has cleverly maintained certain silhouettes,
colours and textures of the Tudor period in her modern designs.
Henry VIII’s court
Anne Boleyn and her ladies wear 50’s style skirts that puff out and
are cinched in at the waist. Layered with petticoats to form an
exaggerated silhouette these skirts are also reminiscent of the shape
of the dresses of Anne’s time.
The skirts are topped by risqué corsets – revealing and transparent on
some characters and another nod to the 16th century.
Unlike women in Tudor times, the ladies of Anne’s court wear
towering heels.
Colour is an important component of Elizabeth’s design and also
helps the audience track the time changes. Anne is mostly in red and
there are elements of red in each of the costumes worn by characters
in her world, Cardinal Wolsley, for example, is all in red (as befits a
Cardinal) and King Henry is also ostentatiously dressed in red.
The two henchmen, Sloop and Simpkin are dressed in the style of
1950s teddy boys with drainpipe trousers, skinny ties and long fitted
coats and their shirts are also red.
James I’s Court
An all-male domain, James’ courtiers wear buttoned up suits with
high collars that wouldn’t be out of place in today’s fashion shops.
Whilst most of the court is dressed in a palette of greys, blacks and
charcoals, with occasional bright accents, James’ lover the young
George Villiers wears a punk-rock t-shirt, baggy jeans and flamboyant
accessories rich in texture.
James himself is outrageous. Dressed in purple tartan like a faded
glam rock star, the King prances and cavorts in Anne’s old dresses and
heels that are a match for any that she wears in the course of the play.
Lighting and Sound
The lighting in the secretive, spy-ridden world of the court of
Henry VII is lit by designer Philip Dexter in shadows, interspersed
with moments of brightness. At the beginning of the play, when
Anne is in her tomb, the lighting is less intense but when she and
Henry celebrate their wedding day the stage is lit in a riot of colour.
Contrastingly, the forest of Farnham where William Tyndale’s followers
meet is evoked in cool green tones through a gobo that creates the
shadows of the forest on the stage floor and James’ court is lit in
bright clear tones throughout.
The soundscape in the play mirrors decisions made around the
costume design; in Henry’s time courtly dances are accompanied
by music that reminds us of early 50s rock n roll, whilst in James’
throne room the music – and the dancing – has a contemporary feel
- particularly in the ironic opening song at the beginning of Act 2. Thomas Cromwell, on the other hand, wears black throughout, his
only accessory is a pair of black leather gloves – discovered by actor
Simon Prast on the first day of rehearsals – which the character never
removes.
Tyndale’s Followers
In contrast to Henry’s court the followers of William Tyndale appear
in fabrics of green, olive and khaki – country colours. They wear
simple work clothes; aprons, coats, scarves and woollens and they all
wear headgear which hides their faces ( they meet in secret) and also
serves to disguises the actors in these minor roles.
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Religious change from the reign
of Henry VIII to James I
Henry VIII’s Reign 1509 – 1547: When Henry takes the
throne; the Church of England is unambiguously Catholic. Meanwhile,
in Central Europe Martin Luther and John Calvin are developing what
would come to be the varying branches of Protestantism. When
Henry seeks an annulment of his marriage with Catherine in order
to marry Anne Boleyn he breaks away from the Roman Catholic
Church’s authority, but the Church of England remains essentially
Catholic in ideology.
Edward VI’s Reign 1577 – 1553: Edward enforces
changes which make the Church of England institutionally Protestant.
Mary I’s Reign 1553 – 1558: Mary revokes Edward’s
changes and re-establishes Papal authority over the Church of
England. She violently persecutes many Protestants and those who
escape flee to Central Europe.
Elizabeth I’s Reign 1558 – 1603: Elizabeth re-establishes
the Church of England’s independence from Rome. England officially
becomes a Protestant nation but Elizabeth tolerates Catholicism
provided those practicing pose no threat to peace and stable rule.
She does not tolerate the more radical Puritans (a Protestant political
group) who are pushing for far reaching reforms.
James I’s Reign 1603 – 1625: By the time James is on
the throne the official religion of England is a moderate form of
Protestantism, (later known as Anglicanism). Initially, James is tolerant
towards Catholics, however after the Gun Powder plot of 1605 – a
Catholic conspiracy now celebrated as Guy Fawkes Day - James
began enforcing stricter measures to suppress Catholics. James feared
the Puritan factions of the clergy, whether they were moderate in
their views or radically separatist because they imposed a threat to
his supreme authority over the Church. James resolved to enforce
conformity to his Church of England amongst the clergy and one way
that he achieved this was by commissioning an official English Bible,
which became known as the King James Bible.
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Ten things you didn't know
about Anne Boleyn
1 She was accused of being a witch.
2 She was rumoured to have had six fingers on one hand.
3 She was an expert card player who won masses of money when she played against Henry
4 Two weeks – the time it took from the first accusations
to her death for Anne to be charged, tried and executed.
5 Anne had a quick and nasty temper – she once spoke to
her uncle with words that “shouldn’t be used to a dog.”
6 She was vindictive. She ordered ex-boyfriend Henry
Percy to arrest Cardinal Wolsey after his failure to secure an annulment.
7 Henry Percy was then on the jury that condemned Anne to death.
8 She abused Henry’s first child Mary (Catherine
of Aragon’s daughter) because Mary refused to
acknowledge Anne as Queen.
9 Her friend Lady Rochford was eventually beheaded
herself for being implicated in adultery.
10Anne’s ghost walks. In 1864 a soldier was almost sent to
prison for fainting on the job after seeing Anne’s ghost.
He was only saved from being charged by a General’s
testimony that he too had seen the ghost.
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R ESOURCES AND LINKS
Books
Ives, Eric. The Life and Death of Anne Boleyn. Blackwell, Massachusetts: 2004.
Marshall, Peter. Reformation England, 1480-1642. Oxford University Press,
London: 2003.
Newcombe, David G. Henry VIII and the English Reformation. Routledge,
London: 1995.
Websites
Bennett, Vanora. ‘Dreamer or Schemer?: Step Forward the Real Anne Boleyn’. http://www.dailymail.co.uk/home/you/article-2108838/Dreamer-schemerStep-forward-real-Anne-Boleyn.html
Bordo, Susan and Natalie Sweet. ‘The Creation of Anne Boleyn’. http://thecreationofanneboleyn.wordpress.com/
Brenton, Howard and Andrew Dickson. ‘A Life in Theatre’. The Guardian. http://www.guardian.co.uk/books/2010/jul/10/howard-brenton-life-in-theatre
Rennell, Tony. ‘Anne Boleyn, Harlot or Heroine?’
http://www.dailymail.co.uk/femail/article-1296826/Anne-Boleyn-harlotheroine-Was-scheming-sexual-predator-brave-reformer-changed-Britain-ever.
html
A BOUT ATC EDUCATION
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